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Anonymous Artist, Austin Texas

A lot of art gets purchased anonymously, even more gets sold anonymously although I haven’t experienced that. The collector of this piece didn’t purchase it anonymously but asked that I keep their identity anonymous. Interestingly enough a friend of mine was consulting at this company, and after seeing this piece a number of times looked at the signature. She sent me this photo and asked “is this yours?” Yes it is!

I initially felt like I had some strange paternal right to know who is purchasing the work. You don’t even get the right to know where your child is going if you give it up for adoption. What made me think I had any right to know anything about any collector? Anyway, It took some cycles to get over that, now I’m just thankful when the work gets out there, gets seen, shared and interacted with.

3 eight foot panels. Images of steel and mill scale that have been transferred to sheets of acrylic glass hung as a tight triptych.


Art in Corporate Spaces

The job of art in public or corporate spaces is often different than private collector pieces. In the lobby, a piece of artwork may have only 15 to 30 seconds to make an impact. This is why you never see conceptual art in corporate spaces. How do I make a piece of fine art that is just as interesting and impactful at 60 feet as it is at 6 inches? How do I insure that the art piece remains engaging and inspiring for folks that may work in a place for years? Two things I have been thinking quite a bit for years.

  Creating pieces is like a choreography, assembling a string of skills into one expression. i might work on sorting through testing the details of one step for weeks. Testing is important because it gives us permission to fail. “You’re only as good as your last piece” is some of the worst advice anyone ever gave or took. The ego cant be wrapped up in some subjective evaluation of what we are or are not producing.

Below are four 8 footers getting ready for shipping. Once assembled this will be a 24-foot piece, called Spunburst and a separate piece called Fertile. They were created using a series of metallurgical and non-metallurgical processes on common mild Steel that involve heat, pressure, wax, rubber, a number of intricate steps and patience. The images of steel are ultimately transferred to these sheets of glass. Its headed to the lobby of a corporate collector’s headquarters In The Domain in Austin Texas.

The client has required anonymity. These are fortune 50 global behemoths, who have realized that supporting local artist like myself who trade on innovation and spend all of our money locally gives them an anchor into the local community. I still don’t understand exactly how or when they leverage it though. I can be reached directly at: and @chris.crane.fine.artist on instagram.